Stage manager John Mark Yap shines as director of ‘Laro’ | ABS-CBN
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Stage manager John Mark Yap shines as director of ‘Laro’
Stage manager John Mark Yap shines as director of ‘Laro’
Totel V. de Jesus
Published Jun 09, 2019 04:31 PM PHT
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Updated Jun 09, 2019 06:24 PM PHT
MANILA -- In local theater circles, mention the name John Mark Yap and people would readily say “stage manager.” Among the most recent productions he did were Pat Valera’s “Mula Sa Buwan,” and “Dekada ‘70.”
MANILA -- In local theater circles, mention the name John Mark Yap and people would readily say “stage manager.” Among the most recent productions he did were Pat Valera’s “Mula Sa Buwan,” and “Dekada ‘70.”
Since its inception in 2015, he has also been one of the main organizers of various musical productions for “One Night Stand: A Monthly Cabaret” at 12 Monkeys Music Hall and Pub, from its original location in Century City Mall in Makati City to its present home in El Pueblo Real, Ortigas, Pasig City.
Since its inception in 2015, he has also been one of the main organizers of various musical productions for “One Night Stand: A Monthly Cabaret” at 12 Monkeys Music Hall and Pub, from its original location in Century City Mall in Makati City to its present home in El Pueblo Real, Ortigas, Pasig City.
At some point, he’s also done production design, poster design, book project management and everything in between. He has become a popular go-to-guy for theater people and the initials “JMY” would sound like a trademark for efficiency and reliability.
At some point, he’s also done production design, poster design, book project management and everything in between. He has become a popular go-to-guy for theater people and the initials “JMY” would sound like a trademark for efficiency and reliability.
Yap also doesn’t mince words, ready to expose whatever needs to be exposed, or shamed, if only to protect the sanctity of theater. Amid all, there’s his sense of humor.
Yap also doesn’t mince words, ready to expose whatever needs to be exposed, or shamed, if only to protect the sanctity of theater. Amid all, there’s his sense of humor.
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If you visit his official Instagram account in which he describes himself “artist, wanderer, dreamer,” JMY has this witty Shakespearean existential realization of The Self: “If all the world’s a stage, and I’m a stage manager, does that mean I manage the world?”
If you visit his official Instagram account in which he describes himself “artist, wanderer, dreamer,” JMY has this witty Shakespearean existential realization of The Self: “If all the world’s a stage, and I’m a stage manager, does that mean I manage the world?”
Now, he’s taken that big leap from stage manager to professional theater director via Artist Playground’s “Laro.”
Now, he’s taken that big leap from stage manager to professional theater director via Artist Playground’s “Laro.”
“Laro” is Floy Quintos’ adaptation of Arthur Schnitzler’s “La Ronde,” which was originally staged in 2004 at the Luneta Park stage for Bulwagang Gantimpala and later at the more intimate Tanghalang Huseng Batute in CCP.
“Laro” is Floy Quintos’ adaptation of Arthur Schnitzler’s “La Ronde,” which was originally staged in 2004 at the Luneta Park stage for Bulwagang Gantimpala and later at the more intimate Tanghalang Huseng Batute in CCP.
With Quintos’ blessings, Artist Playground’s restaging this year has minor revisions and updates. It is also a kickoff for Pride Month and based on last weekend’s initial four shows, Yap’s directorial debut has gathered positive reviews.
With Quintos’ blessings, Artist Playground’s restaging this year has minor revisions and updates. It is also a kickoff for Pride Month and based on last weekend’s initial four shows, Yap’s directorial debut has gathered positive reviews.
Philippine Star calls it “a valiant effort that deserves to be seen,” while Theater Fans Manila took notice of its “seedy allure.”
Philippine Star calls it “a valiant effort that deserves to be seen,” while Theater Fans Manila took notice of its “seedy allure.”
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Fred Hawson of ABS-CBN News describes this theatrical experience as “interlocking intimacies in sexually charged play.”
Fred Hawson of ABS-CBN News describes this theatrical experience as “interlocking intimacies in sexually charged play.”
“Laro“ has been extended for one final show at June 30, 8 p.m. at Arts Above on West Avenue, Quezon City. It is the venue usually referred to as the theater above the office of the Bureau of Internal Revenue, RDO 028.
“Laro“ has been extended for one final show at June 30, 8 p.m. at Arts Above on West Avenue, Quezon City. It is the venue usually referred to as the theater above the office of the Bureau of Internal Revenue, RDO 028.
We spoke to Yap a few days ago on how he came about this seemingly monumental task, from getting the right actors to finally having sold-out shows this weekend.
We spoke to Yap a few days ago on how he came about this seemingly monumental task, from getting the right actors to finally having sold-out shows this weekend.
Excerpts from the interview.
Excerpts from the interview.
Q: So what prompted you to direct "Laro"?
A: Exactly five years ago, I became the project manager of Sir Floy Quintos’ book launch by accident. He was at the Dulaang UP office planning the launch and I couldn’t remember why but I happened to be there too. He asked me, “Are you doing anything right now? Do you want to help me with the book launch and be my Emily (a reference to the film “The Devil Wears Prada”)?
A: Exactly five years ago, I became the project manager of Sir Floy Quintos’ book launch by accident. He was at the Dulaang UP office planning the launch and I couldn’t remember why but I happened to be there too. He asked me, “Are you doing anything right now? Do you want to help me with the book launch and be my Emily (a reference to the film “The Devil Wears Prada”)?
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As a huge fan of his and his works, I immediately agreed and that same day, I attended a meeting with the organizers from the Ateneo de Manila University Press. I became his Emily and he became my Miranda, which up to this day, I still call him that.
As a huge fan of his and his works, I immediately agreed and that same day, I attended a meeting with the organizers from the Ateneo de Manila University Press. I became his Emily and he became my Miranda, which up to this day, I still call him that.
There were two volumes of the “Collected Plays” and out of all the plays, I’ve seen all of them except “Atang” and “Laro.” During the launch, excerpts of the featured plays were read by some of the Quintosian actors and actresses. I was really captivated by the reading of the last scene of “Laro.” I still remember JoMari Jose (who played the Kalaguyo in the 2004 staging) was the Call Boy and the great Leo Rialp was the Pilantropo. Immediately after the launch, I read the entire script of “Laro” and was deeply moved by it.
There were two volumes of the “Collected Plays” and out of all the plays, I’ve seen all of them except “Atang” and “Laro.” During the launch, excerpts of the featured plays were read by some of the Quintosian actors and actresses. I was really captivated by the reading of the last scene of “Laro.” I still remember JoMari Jose (who played the Kalaguyo in the 2004 staging) was the Call Boy and the great Leo Rialp was the Pilantropo. Immediately after the launch, I read the entire script of “Laro” and was deeply moved by it.
Just like Sir Floy, I’ve always loved Arthur Schnitzler’s “La Ronde.” (I even played the role of the Young Gentleman when Tanghalang Ateneo staged it back in 2010.) However, Sir Floy’s adaptation was even more interesting. Instead of heterosexuals, he made all of the characters male and it’s now set in present-day Manila, instead of Vienna in the 1890s. I first read the play in 2014 and I felt sad since 10 years has already passed since Sir Floy wrote the play [in 2004] but a lot of things in our society still haven’t changed. That day, I told myself that I wanted to stage this play one day.
Just like Sir Floy, I’ve always loved Arthur Schnitzler’s “La Ronde.” (I even played the role of the Young Gentleman when Tanghalang Ateneo staged it back in 2010.) However, Sir Floy’s adaptation was even more interesting. Instead of heterosexuals, he made all of the characters male and it’s now set in present-day Manila, instead of Vienna in the 1890s. I first read the play in 2014 and I felt sad since 10 years has already passed since Sir Floy wrote the play [in 2004] but a lot of things in our society still haven’t changed. That day, I told myself that I wanted to stage this play one day.
In 2016, I first worked with Artist Playground as a graphics designer. I’ve done posters and publicity materials for them for several productions already. In one of our encounters, Paul Jake Paule and Sir Roeder Camañag talked to me and said that I should direct for their company. I was honestly very hesitant since I’m more known in the industry as a stage manager. I think it was sometime last year when I talked to them again and said that I’m finally “accepting” the challenge. I told them that I want to direct “Laro” since it has been my dream for years already. It was supposed to be September or October of 2018 but I was suddenly booked by other productions. “Dekada ‘70” had an unexpected rerun and “Mula sa Buwan” also had another run last year and so, I had to postpone my passion project to do those two musicals.
In 2016, I first worked with Artist Playground as a graphics designer. I’ve done posters and publicity materials for them for several productions already. In one of our encounters, Paul Jake Paule and Sir Roeder Camañag talked to me and said that I should direct for their company. I was honestly very hesitant since I’m more known in the industry as a stage manager. I think it was sometime last year when I talked to them again and said that I’m finally “accepting” the challenge. I told them that I want to direct “Laro” since it has been my dream for years already. It was supposed to be September or October of 2018 but I was suddenly booked by other productions. “Dekada ‘70” had an unexpected rerun and “Mula sa Buwan” also had another run last year and so, I had to postpone my passion project to do those two musicals.
Finally, this year, my schedule was more free than usual. Aside from working as a production assistant for “The Phantom of the Opera” World Tour, I didn’t have any other productions booked for the first half of the year and so, I approached Artist Playground again if we can finally stage “Laro” this year. Things finally fell into place since a Pride Festival that was supposed to happen at Arts Above didn’t push through and so they agreed to mount this production together with “Roses for Ben” for Pride Month.
Finally, this year, my schedule was more free than usual. Aside from working as a production assistant for “The Phantom of the Opera” World Tour, I didn’t have any other productions booked for the first half of the year and so, I approached Artist Playground again if we can finally stage “Laro” this year. Things finally fell into place since a Pride Festival that was supposed to happen at Arts Above didn’t push through and so they agreed to mount this production together with “Roses for Ben” for Pride Month.
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Q: Is this your directorial debut?
A: I honestly don’t know if I should consider this as my directorial debut or not. I directed some plays back in college but those were very minor. I really enjoyed my Directing 1 and Directing 2 classes with my second father and mentor, Sir Ricky Abad.
A: I honestly don’t know if I should consider this as my directorial debut or not. I directed some plays back in college but those were very minor. I really enjoyed my Directing 1 and Directing 2 classes with my second father and mentor, Sir Ricky Abad.
I really learned a lot from him and I really took all of the exercises seriously. I never got the chance to direct for Tanghalang Ateneo since I was always part of the production team, mostly as a stage manager. My two most recent works were both for Short + Sweet Manila. For the first Short + Sweet Manila back in 2014, I directed “Reading Lamouche” which starred Xander Soriano, Cindy Lopez, and more was basically about pretentious actors and an unsung hero of every theater production, a crew member. In 2015, I also directed Vladimeir Gonzales’ “Si Nelson, Ang Nanay, Ang Pancit Canton” also for Short + Sweet Manila. It starred Dolly de Leon and Joe-Nel Garcia, a story about a gay son, her mother, and in everything in between them.
I really learned a lot from him and I really took all of the exercises seriously. I never got the chance to direct for Tanghalang Ateneo since I was always part of the production team, mostly as a stage manager. My two most recent works were both for Short + Sweet Manila. For the first Short + Sweet Manila back in 2014, I directed “Reading Lamouche” which starred Xander Soriano, Cindy Lopez, and more was basically about pretentious actors and an unsung hero of every theater production, a crew member. In 2015, I also directed Vladimeir Gonzales’ “Si Nelson, Ang Nanay, Ang Pancit Canton” also for Short + Sweet Manila. It starred Dolly de Leon and Joe-Nel Garcia, a story about a gay son, her mother, and in everything in between them.
However, all those were just short and small productions so this is my “biggest break” since this one is really a full-length play, although I still tried to keep it small. It’s so far from the productions I stage managed. I didn’t want to do something that would stress me out too much, I just wanted to do something that would be good and something that I would enjoy doing as well.
However, all those were just short and small productions so this is my “biggest break” since this one is really a full-length play, although I still tried to keep it small. It’s so far from the productions I stage managed. I didn’t want to do something that would stress me out too much, I just wanted to do something that would be good and something that I would enjoy doing as well.
Q: How did you assemble the cast members? Were they invited or were there auditions? Heavyweights like Vincent de Jesus na bihirang umarte, busy-body Phi Palmos, paano mo sila napapayag maging part ng “Laro”?
A: I originally wanted to hold open auditions for this but Sir Roeder and Paul Jake suggested that I should just personally invite actors that I wanted. I already offered Paul Jake the role of Pulis and Sir Roeder the role of Pilantropo few months ago. Unfortunately, Sir Roeder is directing “Roses for Ben” so he had to beg off. I talked to Phi and MC (Dela Cruz) when we were still doing “Mula sa Buwan” last year that I’d be getting them for sure. I also talked to Jon (Abella) and Ross (Pesigan) if they’re interested to act for a gay play when we were rehearsing for One Night Stand’s ‘Atin Too!’.
A: I originally wanted to hold open auditions for this but Sir Roeder and Paul Jake suggested that I should just personally invite actors that I wanted. I already offered Paul Jake the role of Pulis and Sir Roeder the role of Pilantropo few months ago. Unfortunately, Sir Roeder is directing “Roses for Ben” so he had to beg off. I talked to Phi and MC (Dela Cruz) when we were still doing “Mula sa Buwan” last year that I’d be getting them for sure. I also talked to Jon (Abella) and Ross (Pesigan) if they’re interested to act for a gay play when we were rehearsing for One Night Stand’s ‘Atin Too!’.
I asked and messaged a lot of people if they were interested. I received so many rejections (not exaggerating) due to the mature theme of the play but luckily, some friends agreed to join. I got Gio Gahol (who plays the Manggagamit), André Miguel (who plays the Call Boy), Al Gatmaitan (who plays the Ideal), and Sir Vince.
I asked and messaged a lot of people if they were interested. I received so many rejections (not exaggerating) due to the mature theme of the play but luckily, some friends agreed to join. I got Gio Gahol (who plays the Manggagamit), André Miguel (who plays the Call Boy), Al Gatmaitan (who plays the Ideal), and Sir Vince.
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However, I needed to look for alternates for Jon, Gio and Al since they have some schedule conflicts. I messaged Vincent Pajara (who also plays the Manunulat) and without hesitation, accepted my offer. Phi recommended Mike Liwag (who also plays the Manggagamit) and so I got him. I also cast Victor Sy (who also plays the Ideal) after seeing him in “Nana Rosa.”
However, I needed to look for alternates for Jon, Gio and Al since they have some schedule conflicts. I messaged Vincent Pajara (who also plays the Manunulat) and without hesitation, accepted my offer. Phi recommended Mike Liwag (who also plays the Manggagamit) and so I got him. I also cast Victor Sy (who also plays the Ideal) after seeing him in “Nana Rosa.”
However, I only had 9 characters cast. Casting for the role of the Modelo was a huge challenge. I already had two actors cast in the role but one backed out because he had to undergo a surgery and one backed out because he couldn’t fully commit to the production. (I wouldn’t name these two actors because they don’t deserve the time and attention.) It really felt like a search for the next “Darna” after both Angel Locsin and Liza Soberano backed out.
However, I only had 9 characters cast. Casting for the role of the Modelo was a huge challenge. I already had two actors cast in the role but one backed out because he had to undergo a surgery and one backed out because he couldn’t fully commit to the production. (I wouldn’t name these two actors because they don’t deserve the time and attention.) It really felt like a search for the next “Darna” after both Angel Locsin and Liza Soberano backed out.
Anyway, I posted a casting call on Facebook and went back to messaging some people if they were interested. After a long search and a special audition just for the role, I ended up with both Jonathan Ivan Rivera and Jay Gonzaga. Finally, I have a full cast! Imagine, I was able to complete my cast just days before the pictorial!
Anyway, I posted a casting call on Facebook and went back to messaging some people if they were interested. After a long search and a special audition just for the role, I ended up with both Jonathan Ivan Rivera and Jay Gonzaga. Finally, I have a full cast! Imagine, I was able to complete my cast just days before the pictorial!
Q: How did I get them to act for this production?
A: The friendship card! Although I made them read the play first and let the material convince them. Like Phi, after reading it, he really wanted to do it and said, “Ayoko ng alternate ah! Gusto ko talaga gawin ito!” I messaged Sir Vince De Jesus on Messenger, I think around 2 a.m. and asked if he was interested to act for a play that I’ll be directing. I sent him the script and in 10 minutes or so, he accepted the role I offered him.
A: The friendship card! Although I made them read the play first and let the material convince them. Like Phi, after reading it, he really wanted to do it and said, “Ayoko ng alternate ah! Gusto ko talaga gawin ito!” I messaged Sir Vince De Jesus on Messenger, I think around 2 a.m. and asked if he was interested to act for a play that I’ll be directing. I sent him the script and in 10 minutes or so, he accepted the role I offered him.
Also, Sir Vince wanted to act again since he hasn’t acted for a straight play in more than a decade already. It was not that hard to convince actors to join the production since the material is really good. Floy Quintos eh! I made the script do all the talking for me.
Also, Sir Vince wanted to act again since he hasn’t acted for a straight play in more than a decade already. It was not that hard to convince actors to join the production since the material is really good. Floy Quintos eh! I made the script do all the talking for me.
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Q: Tell us also about the updates, revisions.
A: We tried to be very loyal to the script but we made minor updates on the script. Sir Floy suggested to incorporate technology and social media in some of the scenes that needed updating but basically, those were just in 10 lines or so. We just made “chat room” into “chat” since no one uses the term “chat room” anymore. It was referring to MIRC back in 2004, but now, this “chat” can be in apps like Grindr or even the infamous Twitter alter world.
A: We tried to be very loyal to the script but we made minor updates on the script. Sir Floy suggested to incorporate technology and social media in some of the scenes that needed updating but basically, those were just in 10 lines or so. We just made “chat room” into “chat” since no one uses the term “chat room” anymore. It was referring to MIRC back in 2004, but now, this “chat” can be in apps like Grindr or even the infamous Twitter alter world.
Q: Tell us about the Tanghalang Ateneo version in which, you said, you played a part.
A: Tanghalang Ateneo staged the original text by Arthur Schnitzler. It was really “La Ronde” in English with the heterosexual characters. I played the Young Gentleman and had sex with two female characters, the Parlour Maid and the Young Wife. Some of the cast members were Ysabel Yuzon, Charles Yee, and Brian Sy. It was directed by BJ Crisostomo for Tanghalang Ateneo’s 32nd season.
A: Tanghalang Ateneo staged the original text by Arthur Schnitzler. It was really “La Ronde” in English with the heterosexual characters. I played the Young Gentleman and had sex with two female characters, the Parlour Maid and the Young Wife. Some of the cast members were Ysabel Yuzon, Charles Yee, and Brian Sy. It was directed by BJ Crisostomo for Tanghalang Ateneo’s 32nd season.
Q: In 2014, when you were project manager for the book launch of Floy Quintos’ two volumes of collection of plays, did it ever occur to you that one day you’ll direct this play?
A: I wanted to direct this play but I never thought it would actually happen. And now that it’s happening, I still can’t believe it. Pinch me, is this really finally happening?
A: I wanted to direct this play but I never thought it would actually happen. And now that it’s happening, I still can’t believe it. Pinch me, is this really finally happening?
Q: Now, may konting pressure ba sa ‘yo since it's a material adapted by Sir Floy and which he also directed?
A: Definitely, not just konti but really a lot of pressure. Sir Floy’s plays are really not easy to direct. They’re so complex and layered, that’s why they’re so beautiful. This is the second time this play is being staged and of course, it’s such a big challenge for me to be directing this after he directed it 15 years ago.
A: Definitely, not just konti but really a lot of pressure. Sir Floy’s plays are really not easy to direct. They’re so complex and layered, that’s why they’re so beautiful. This is the second time this play is being staged and of course, it’s such a big challenge for me to be directing this after he directed it 15 years ago.
However, Sir Floy has always been very supportive. He attended our first reading with the cast. He watched our rehearsal and gave some notes to me and the cast. He has been nothing but the best, that’s why I love him so much!
However, Sir Floy has always been very supportive. He attended our first reading with the cast. He watched our rehearsal and gave some notes to me and the cast. He has been nothing but the best, that’s why I love him so much!
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Q: As stage manager, production manager, director in many plays and in shows like “One Night Stand” for so long, what are the challenges of being a director of a play like “Laro”?
A: It’s really challenging to give notes to these talented actors. I’m just lucky that they’re so collaborative even though they’re already so accomplished. We’ve discussed their complex characters and all. I’m so blessed that they really listen to my notes and do what I want.
A: It’s really challenging to give notes to these talented actors. I’m just lucky that they’re so collaborative even though they’re already so accomplished. We’ve discussed their complex characters and all. I’m so blessed that they really listen to my notes and do what I want.
It’s also very challenging to do everything on the artistic side, from the movement to the design elements of the production. As a stage manager or production manager, I’m on the production side, I don’t have to make decisions about the artistic elements of a production but here, I had to decide and meet with my talented designers with the overall look that I wanted. We all had to have the same vision of the play so that it will all look cohesive.
It’s also very challenging to do everything on the artistic side, from the movement to the design elements of the production. As a stage manager or production manager, I’m on the production side, I don’t have to make decisions about the artistic elements of a production but here, I had to decide and meet with my talented designers with the overall look that I wanted. We all had to have the same vision of the play so that it will all look cohesive.
Q: As one of the plays to kick off Pride Month, what are the goals you hope to achieve for those who will watch “Laro”?
A: I’m staging “Laro” because the issues and themes discussed in the play like sexual predation and powerplay are still very prevalent nowadays. It’s been 15 years since this play was written yet nothing has really changed. Fifteen years is a long time and we should have evolved as human beings but I guess, it’s just a never-ending cycle. It’s quite alarming to be honest that the gay community is still experiencing the same challenges and struggles from more than a decade ago. I want the audience members to think about that. What are we going to do with this?
A: I’m staging “Laro” because the issues and themes discussed in the play like sexual predation and powerplay are still very prevalent nowadays. It’s been 15 years since this play was written yet nothing has really changed. Fifteen years is a long time and we should have evolved as human beings but I guess, it’s just a never-ending cycle. It’s quite alarming to be honest that the gay community is still experiencing the same challenges and struggles from more than a decade ago. I want the audience members to think about that. What are we going to do with this?
Also, since June is Pride Month, it’s definitely the best time to stage a play about the Manila gay community. It’s something that a lot of people can really relate to. Audience members will see themselves in at least one of the 10 characters. This is our story, and it needs to be told. And that’s why people need to see this, whether they’re gay or not.
Also, since June is Pride Month, it’s definitely the best time to stage a play about the Manila gay community. It’s something that a lot of people can really relate to. Audience members will see themselves in at least one of the 10 characters. This is our story, and it needs to be told. And that’s why people need to see this, whether they’re gay or not.
One thing about the play is that it’s very dark. It shows the side of the gay community that isn’t usually seen. We’re always just the happy, fun and “rainbow” people that most people expect to see, but we also have that darkness within us. It’s not something that we should be ashamed of. In" Laro," we get to make others see this side. Love and happiness are even more difficult to find within the gay community, and I hope that through this play, our friends who are straight get to understand why.
One thing about the play is that it’s very dark. It shows the side of the gay community that isn’t usually seen. We’re always just the happy, fun and “rainbow” people that most people expect to see, but we also have that darkness within us. It’s not something that we should be ashamed of. In" Laro," we get to make others see this side. Love and happiness are even more difficult to find within the gay community, and I hope that through this play, our friends who are straight get to understand why.
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